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N C A O M R A ¶∞ƒ√π∫π∞∫∏ U ¶POO¢EYTIKH EºHMEPI¢A ™THN Y¶HPE™IA TH™ KY¶PIAKH™ ¶APOIKIA™ ¶∂ª¶Δ∏ 17 √∫Δøμƒπ√À 2013 ● XPONO™ 39Ô˜ ● AÚÈıÌfi˜ ʇÏÏÔ˘ 2022 ● PRICE: 75 pence ∞∞ÁÁÔÔÚÚ¿¿˙˙ÔÔ˘˘ÌÌ Î΢˘ÚÚÈÈ··Îο¿ ÚÚÔÔ˚˚fifiÓÓÙÙ·· ΔΔ··ÍÍÈȉ‰Â‡‡ÔÔ˘˘ÌÌ ÛÛÙÙËËÓÓ ∫∫‡‡ÚÚÔÔ ™™ÙÙËËÚÚ››˙˙ÔÔ˘˘ÌÌ ÙÙÔÔÓÓ ÙÙfifiÔÔ ÌÌ··˜˜ ¶∂ƒπº∂ƒ∂π∞∫√™ Ã√ƒ√™ ÕÓÔÈÍ ÙÔ˘˜ ·ÛÎÔ‡˜ ÎÎ..ÔÔ.. ∞∞∫∫∂∂§§ μ√ƒ∂π√À §√¡¢π¡√À ÙÔ˘ ∞ÈfiÏÔ˘ Ô ∞Ó·ÛÙ·ÛÈ¿‰Ë˜ √ÚÁÈ¿˙ÂÈ Ë ÙÔ˘ÚÎÈ΋ ‰Èψ̷ٛ· ÂÈÚÚ›ÙÔÓÙ·˜ ¢ı‡Ó˜ ÛÙËÓ Â/Î ÏÂ˘Ú¿ ÁÈ· ·ÚÔı˘Ì›· ‰È·‚Ô‡Ï¢Û˘ ÁÈ· χÛË! # # ™∞μμ∞Δ√ 26 √∫Δøμƒπ√À 2013 - 7.00 Ì.Ì. §∂À∫ø™π∞ – ∞ÓÙ·fiÎÚÈÛË ªÂ¯Ì¤Ù ∞Ï› Δ·Ï¿Ù ÁÈ· ÙË ‚¿ÛË §Ô˘Î·˝‰Ë ÂÈÛËÌ·›ÓÂÈ fiÙÈ Ë ÎÔ΢Úȷ΋ ÏÂ˘Ú¿ ·Ô‰¤- ∫√π¡√Δπ∫√ ∫∂¡Δƒ√, ¶∂Δƒ√™ ¶∞™π∞™ ‰ÈÂÍ·ÁˆÁ‹˜ ÙˆÓ Û˘ÓÔÌÈÏÈÒÓ, ·ÓËÛ˘¯ËÙÈ΋ ηٿÛÙ·ÛË fiˆ˜ ¯ıËΠÙË ÌÈ· Î·È ÌfiÓË Î˘ÚÈ·Ú- ·ÏÏ¿ ı¤ÙÂÈ Î·È ÙÔÓ fiÚÔ ÁÈ· ‰È·ÌÔÚÊÒÓÂÙ·È Ì¤¯ÚÈ ÛÙÈÁÌ‹˜ ¯›·, ‰ÈÂıÓ‹ ÚÔÛˆÈÎfiÙËÙ· Earlham Grove, Wood Green, N22 ·ÚÎÙfi˜ Â›Ó·È Ï¤ÔÓ Ô ÚÔÛ˘Ìʈӛ· ÚÈÓ ·fi ÙËÓ ÛÙÔ ∫˘ÚÈ·Îfi, ı· ·ÔÊ¢Áfi- Î·È Èı·Á¤ÓÂÈ·. # TIMH ∂π™πΔ∏ƒπ√À (ÌÂÙ¿ Ê·ÁËÙÔ‡): í25.00 # ΛӉ˘ÓÔ˜ Ë ÂÏÏËÓÔ΢- ¤Ó·ÚÍË ÙˆÓ Û˘ÓÔÌÈÏÈÒÓ ÂÈ- Ù·Ó «·Ó Ë ÏÂ˘Ú¿ Ì·˜ ‰ÂÓ √ °. §Ô˘Î·˝‰Ë˜ ÂͤÊÚ·Û ÀÚȷ΋ ÏÂ˘Ú¿ Ó· ·- ÙÚ¤ÔÓÙ·˜ ÛÙËÓ ÙÔ˘ÚÎÈ΋ ¤ÌÂÓ ÛÙËÓ ·¿ÏÂÈ„Ë ÙˆÓ ÙËÓ ÂÔ›ıËÛË fiÙÈ ı· Á›ÓÂÈ Î·- * * * √Ú¯‹ÛÙÚ· ¡π∫√À ™π∞∫√§∞ * * * Ó¤ÏıÂÈ ‡ÛÙÂÚ· ·fi ÔÏÏ¿ ÙÔÚıˆÙ‹ Ë ¤Î‰ÔÛË ÎÔÈÓÔ‡ ¯ÚfiÓÈ· ÛÙË ‰ÂÈÓ‹ ı¤ÛË Ó· η- ·Ó·ÎÔÈÓˆı¤ÓÙÔ˜ ÛÙÔ ÔÔ›Ô °π∞ ¶∂ƒπ™™√Δ∂ƒ∂™ ¶§∏ƒ√º√ƒπ∂™ Δ∏§: ÙËÁÔÚÂ›Ù·È ÁÈ· ·ÚÔı˘Ì›· ‰È·- ÔˆÛ‰‹ÔÙ ڤÂÈ Ó· ·- ‚Ô‡Ï¢Û˘ ÁÈ· Â͇ÚÂÛË Ï‡- Ó·‚‚·Èˆı› Ë ‰¤ÛÌ¢ÛË ÁÈ· ¡ÂfiÊ˘ÙÔ˜ ¡ÈÎÔÏ¿Ô˘: Û˘. √ ¶Úfi‰ÚÔ˜ ∞Ó·ÛÙ·- ¤Ó· ‰È˙ˆÓÈÎfi, ‰ÈÎÔÈÓÔÙÈÎfi, ÔÌÔ- 020 8341 0751 / 07778 050 320 ÛÈ¿‰Ë˜, οÓÔÓÙ·˜ ¯ÂÈÚÈÛÌÔ‡˜ ÛÔӉȷÎfi ÎÚ¿ÙÔ˜, Ì ÌÈ· Î·È Î·È ·ÛÎÒÓÙ·˜ ÔÏÈÙÈ΋ ÁÈ· ÌfiÓË Î˘ÚÈ·Ú¯›·, ÌÈ· Î·È ÌfiÓË ¶¿ÌÔ˜ ÷ڷϿÌÔ˘˜: ÂÛˆÙÂÚÈ΋ ηٷӿψÛË, ‰›ÓÂÈ ‰ÈÂıÓ‹ ÚÔÛˆÈÎfiÙËÙ· Î·È ÌÈ· 020 8341 5853 / 07802 798 979 ÙËÓ Â˘Î·ÈÚ›· ÛÙËÓ ÕÁ΢ڷ Î·È Î·È ÌfiÓË Èı·Á¤ÓÂÈ·. ÙËÓ ÙÔ˘ÚÎÔ΢Úȷ΋ ËÁÂÛ›· «™ÙËÓ ·Â˘ÎÙ·›· ÂÚ›Ùˆ- Ó· ÂÌÊ·Ó›˙ÔÓÙ·È ˆ˜ Ë ÏÂ˘Ú¿ ÛË Ô˘ ‰ÂÓ Î·Ù·ÛÙ› ‰˘Ó·Ù‹ Ë Ô˘ fi¯È ÌfiÓÔ ı¤ÏÂÈ, ·ÏÏ¿ Î·È ¤Î‰ÔÛË ÎÔÈÓÔ‡ ·Ó·ÎÔÈÓˆı¤- Ȥ˙ÂÈ ÁÈ· ¤Ó·ÚÍË ÙˆÓ Û˘ÓÔÌÈ- ÓÙÔ˜, ı· Û˘Ó¯›ÛÂÈ Ó· ‰ڷÈÒ- È·‚¿ÛÙ ۋÌÂÚ·: ÏÈÒÓ. ÓÂÙ·È ÙÔ ‰È¯ÔÙÔÌÈÎfi ÛÙ¿ÙÔ˘˜ ‰ √ ¶Úfi‰ÚÔ˜ ∞Ó·ÛÙ·ÛÈ¿‰Ë˜ Î‚Ô Î·È ı· Â›Ó·È ˘·ÚÎÙfi˜ Ô ˆÛÙfiÛÔ, ‰ÂÛÌÂ˘Ì¤ÓÔ˜ ÂÛˆ- ÏÂ˘Ú¿ Ó· ηχÙÂÈ ÙËÓ ÎÔÈÓÒÓ ·Ó·ÎÔÈÓˆı¤ÓÙˆÓ ÃÚÈ- ΛӉ˘ÓÔ˜ ›ÚÚȄ˘ ¢ı˘ÓÒÓ ÔÏÈÙÈÎË ÎÔÌÌ·ÙÈο Î·È ¤Ó·ÓÙÈ ÙˆÓ Û˘- ·‰È·ÏÏ·Í›· Ù˘ Î·È Ó· ·ÏˆÓ›- ÛÙfiÊÈ· – Δ·Ï¿Ù ·fi ÙÔ ÙÂÏ¢- ÛÙËÓ ÏÂ˘Ú¿ Ì·˜, Ì ÙË ‰È- Á΢‚ÂÚÓÒÓÙˆÓ ÎÔÌÌ¿ÙˆÓ ¢∏- ˙ÂÈ ÛÙ· ‰Èψ̷ÙÈο Û·ÏfiÓÈ· Ù·›Ô „‹ÊÈÛÌ· ÙÔ˘ ™˘Ì‚Ô˘Ï›Ô˘ ηÈÔÏÔÁ›· fiÙÈ ·¤ÚÚÈ„Â Ù· ÎÔÈ- 梉›ÁÚ·ÊË Ë ÂÈÎfiÓ· ∫√ Î·È ∂Àƒø∫√, fi¯È ÌfiÓÔ ÚÔ‚¿ÏÏÔÓÙ·˜ ÙË «ı¤ÏËÛË ∞ÛÊ·Ï›·˜». Ó¿ ·Ó·ÎÔÈÓˆı¤ÓÙ· Î·È Û˘ÓÂ- ÁÈ· ÙËÓ ÔÈÎÔÓÔÌ›· ¤ÚÈÍ ÛÙÔ ˘Ú ÙÔ ÂÍÒÙÂÚÔÓ ÙȘ Ù˘ ÁÈ· χÛË ¯ı˜»… Ÿˆ˜ ·Ó¤ÊÂÚÂ Ô °. §Ô˘Î·˝- Ò˜ ·˘Ù‹ ¿ÓÔÈÍ ÙÔÓ ·ÛÎfi ÙÔ˘ Û˘Ìʈӛ˜ ÙÔ˘ ÚÔηÙfi¯Ô˘ ΔÔ ∞∫∂§ ‰È· ÙÔ˘ ÂÎÚÔÛÒ- ‰Ë˜, ÛÙ· ÎÔÈÓ¿ ·Ó·ÎÔÈÓˆı¤- ➺ ™ÂÏ. 3 ÙÔ˘ ¢ËÌ. ÃÚÈÛÙfiÊÈ· Ì ÙÔÓ Ô˘ Δ‡Ô˘ ÙÔ˘, ‚Ô˘ÏÂ˘Ù‹ °. ÓÙ· ÁÈ· ÚÒÙË ÊÔÚ¿ Ë ÙÔ˘Ú- ñ ™À¡∂Ã∂π∞ ™Δ∏ ™∂§. 31 ·ÚÔÈÎÈ· Δ· ÂηÙfi ¯ÚfiÓÈ· ∞∫Δπμ ™Δ∂§∂Ãø¡ ¶∞ƒ∞ƒΔ∏ª∞Δ√™ ∞∫∂§ μƒ∂Δ∞¡π∞™ ·fi ÙË Á¤ÓÓËÛË ÙÔ˘ ª·Î·Ú›Ô˘ ➺ ™ÂÏ. 18 ·ÚÔÈÎÈ· ™˘ÓÙÔÓÈṲ̂ÓË Â›ıÂÛË Î·Ù¿ ÙÔ˘ ∞∫∂§ ·ÚÔÈÎÈ· ∂Ή‹ÏˆÛË ∞Á¿Ë˜, ˘ÚÈ·Îfi Î·È ÔÈÎÔÓÔÌ›· ™Ù‹ÚÈ͢ Î·È ‹Ù·Ó Ù· ‰‡Ô ‚·ÛÈο ı¤- ∫Ì·Ù· Ô˘ ·Ó¤Ù˘Í ÙÔ ∫·ÏÔÛ‡Ó˘ ̤ÏÔ˜ ÙÔ˘ ¶ÔÏÈÙÈÎÔ‡ °Ú·Ê›- ➺ ™ÂÏ. 19 Ô˘ Î·È Ù˘ ∫ÂÓÙÚÈ΋˜ ∂ÈÙÚÔ- ‹˜ ÙÔ˘ ∞∫∂§, °È·ÓÓ¿Î˘ ∫Ô- ÏÔηۛ‰Ë˜, ÌÈÏÒÓÙ·˜ ÙÔ ‚Ú¿‰˘ Ù˘ ÂÚ·Ṳ̂Ó˘ ¢Â˘- Ù¤Ú·˜ ÛÙÔ ∞ÎÙ›‚ ÙÔ˘ ¶·Ú·Ú- Ù‹Ì·ÙÔ˜ ∞∫∂§ μÚÂÙ·Ó›·˜, ÛÙ· ÁÚ·Ê›· ÙÔ˘ ∫fiÌÌ·ÙÔ˜ ÛÙÔ §ÔÓ‰›ÓÔ. √ Î. ∫ÔÏÔηۛ‰Ë˜ ¤Î·Ó Ïfi- ÁÔ ÁÈ· Û˘ÓÙÔÓÈṲ̂Ó˜ ÂÈı¤- ÛÂȘ ηٿ ÙÔ˘ ∞∫∂§, Ì ÛÙfi¯Ô Ô‡ ·fi Ù· Ú·ÁÌ·ÙÈο ÚÔ- ∞Ó·ÊÂÚfiÌÂÓÔ˜ ÛÙÔ Î˘ÚÈ·- ÚÈ·ÎÔ‡». °ÈÓfiÌ·ÛÙ ̿ÚÙ˘- ·ÊÂÓfi˜ ÙÔÓ ·ÔÚÔÛ·Ó·ÙÔÏÈ- ‚Ï‹Ì·Ù· Ô˘ ·ÓÙÈÌÂÙˆ›˙ÂÈ Îfi Úfi‚ÏËÌ·, Ô Î. ∫ÔÏÔηۛ- Ú˜ ÂÓfi˜ Ì·Ú¿˙ ‰ËÏÒÛÂˆÓ ÛÌfi ÙÔ˘ ∫fiÌÌ·ÙÔ˜ ·fi ÙËÓ Û‹ÌÂÚ· Ë ·ÙÚ›‰· Ì·˜. «§Ô- ‰Ë˜ › fiÙÈ «ÍÂÎÈÓ¿ ÌÈ· Ó¤· ·fi ÙËÓ ÕÁ΢ڷ ÎÈ ÂÓfi˜ ÙÚÔ¯ÈÔ‰ÚÔÌË̤ÓË ‰Ú¿ÛË ÙÔ˘ Á·ÚÈ¿Û·Ù fï˜ Ï¿ıÔ˜», ‰È·- ÚÔÛ¿ıÂÈ·, Ô˘ ¢ÂÏÈÛÙÔ‡- ¤ÓÙÔÓÔ˘ ·Ú·ÛÎËÓ›Ô˘, fi¯È Ìfi- Î·È ·ÊÂÙ¤ÚÔ˘ ÙÔÓ ·ÔÚÔÛ·- Ì‹Ó˘Û ٤ÏÔ˜ ÚÔ˜ ¿Û· η- Ì fiÙÈ ÛÙԯ‡ÂÈ ÛÙËÓ Â›Ï˘ÛË Ó·ÙÔÏÈÛÌfi ÙÔ˘ ΢ÚÈ·ÎÔ‡ Ï·- Ù‡ı˘ÓÛË. Î·È fi¯È ÛÙÔ ÎÏ›ÛÈÌÔ ÙÔ˘ ∫˘- ñ ™À¡∂Ã∂π∞ ™Δ∏ ™∂§. 30 & IN ALL THE BOROUGHS OF LONDON Capital Homes SALES ★ LETTINGS ★ MANAGEMENT Estate Agents and Valuers [email protected] www.capitalhomesestates.co.uk ∏ ÛˆÛÙ‹ ∂ÈÏÔÁ‹ 0208 - 342 5555 COMMISSION ŸÓÔÌ· ÂÌÈÛÙÔÛ‡Ó˘ Î·È ÛÈÁÔ˘ÚÈ¿˜ ÁÈ· ÙȘ ∂ÂÓ‰‡ÛÂȘ Û·˜ NO LETTING FEES ADVANCED PAYMENTS NO MANAGEMENT FEES GUARANTEED RENT PAYMENTS ¶§∞π™πøª∂¡√π ∞¶√ 25∏ ¶∞ƒ√À™π∞ NO HIDDEN COSTS ™Δ√¡ ∫Δ∏ª∞Δπ∫√ Δ√ª∂∞ For further details contact our friendly & experienced team ∂¡√π∫π∞™∂π™ ¶ø§∏™∂π™ ¢π∞Ã∂πƒπ™∂π™ 176 TOLLINGTON PARK, LONDON N4 3AJ VAROSI T: 020 7263 8100 F: 020 7686 8080 ñ London, 1 Turnpike Lane, N8 0EP residential ñ commercial ñ sales ñ lettings ñ management Tel: 020 8829 1414 / 8365 8877 E: [email protected] ñ Pafos, 1 Apostolou Pavlou investments and developments ñ overseas property ESTATES LTD 400/402 WEST GREEN ROAD, LONDON N15 3PX www.varosilettings.com Avenue (+35726930400) ™ÂÏ›‰· 2 ¶¤ÌÙË 17 √ÎÙˆ‚Ú›Ô˘ 2013 ·ÚÔÈÎÈ··ÚÔÈÎÈ· ∫∞Δ∞ ™À°∫π¡∏Δπ∫√ Δƒ√¶√ ¶¶··ÚÚÔÔÈÈÎÎÈÈ··Îο¿ ÓÓ¤¤·· ∏ ¶·ÚÔÈΛ· ı· ˘ÔÛÙËÚ›ÍÂÈ ∞Á›Ô˘ πˆ¿ÓÓË ÙÔ˘ μ·ÙÈÛÙ‹ Wightman Road, London N8 ÙȘ ÂΉËÏÒÛÂȘ ÙÔ˘ ƒ·‰ÈÔÌ·Ú·ıˆÓ›Ô˘ √ ηıÈÂڈ̤ÓÔ˜ ÂÙ‹ÛÈÔ˜ ∞ÁÈ·ÛÌfi˜ È· ÛÂÈÚ¿ ¯ÚfiÓˆÓ ÙÒÚ· Ë ‰·˜, ÙȘ ÛÙÔȯÂÈÒ‰ÂȘ ˘ËÚÂ- Ù˘ §·˚΋˜ ΔÚ¿Â˙·˜ Ô˘ ∞‰ÂÏÊfiÙËÙ·, ÙÔ ¢ËÌÔÎÚ·ÙÈÎfi ·ÚÔÈΛ· ‰›‰ÂÈ Ù¤ÙÔȘ ۛ˜ „˘¯·ÁˆÁ›·˜ Î·È ÁÂÓÈ΋˜ ·ÔÙÂÏÔ‡Û ÙÔÓ Î‡ÚÈÔ ÌÔ¯Ïfi ™˘Ó·ÁÂÚÌfi ∏ӈ̤ÓÔ˘ μ·ÛÈ- ÛÙ· ∂ÏÏËÓÈο ™¯ÔÏ›· Ù˘ ∫ÔÈÓfiÙËÙ·˜ °Ì¤Ú˜ ÙÔ ·ÚfiÓ Ù˘ ÛÙË ·ÁˆÁ‹˜ Û ¿ÙÔÌ· Ì ÂȉÈΤ˜ Ù˘ fiÏ˘ ÔÈÎÔÓÔÌÈ΋˜ ÂÍfiÚ- Ï›Ԣ Î·È ÙÔ ¢∏∫√ ∞ÁÁÏ›·˜, Ô ™¿‚‚·ÙÔ, 28 ™ÂÙÂÌ‚Ú›Ô˘ 2013, Ô ™Â‚·ÛÌÈÒÙ·ÙÔ˜ ÌÂÁ¿ÏË ÚÔÛ¿ıÂÈ· ÁÈ· ¤Ó· ·Ó¿ÁΘ, ·fi Ù¤ÛÛÂÚ· – ¤- ÌËÛ˘ Î·È Ì ÙÔÓ ÙfiÙ ¢È¢- ‰Â›ÓÔ ÚÔ˜ ÙÈÌ‹ Ù˘ ÚÒÙ˘ ∞گțÛÎÔÔ˜ £˘·ÙÂ›ÚˆÓ Î·È ªÂÁ¿Ï˘ μÚÂÙ·Ó›·˜ ·fi ÙÔ˘˜ ÈÔ ÛËÌ·ÓÙÈÎÔ‡˜ ÊÈ- ÓÙ ¯ÚfiÓÈ· ÙÒÚ· Â›Ó·È Û ı¤ÛË ı˘ÓÙ‹ ÙÔ˘ Â‰Ò ¶·Ú·ÚÙ‹Ì·- ΢ڛ·˜ Ù˘ ∫‡ÚÔ˘, ÕÓÙÚ˘ Δ Î.Î. °ÚËÁfiÚÈÔ˜ Ù¤ÏÂÛ ÙÔÓ Î·ıÈÂڈ̤ÓÔ ÂÙ‹ÛÈÔ ∞ÁÈ·- Ï·ÓıÚˆÈÎÔ‡˜ ÛÎÔÔ‡˜: ÙË Ó· Û˘Ì‚¿ÏÂÈ ÛÙËÓ Â›Ù¢ÍË ÙÔ˜ Ù˘ Ô˘ Â›Ó·È Ì¤ÏÔ˜ ∞Ó·ÛÙ·ÛÈ¿‰Ë Ô˘ ›ӷÈ, ÙÒ- Δ ÛÌfi ÛÙ· ∂ÏÏËÓÈο ¶·ÚÔÈÎȷο ™¯ÔÏ›· ÙÔ˘ ∞Á›Ô˘ πˆ¿ÓÓË Û˘Ì·Ú¿ÛÙ·Û‹ Ù˘ ÚÔ˜ Ù· ÙÔ˘ ΢ÚÈfiÙÂÚÔ˘ ÛÙfi¯Ô˘ ÁÈ’ ·˘- ÙÔ˘ ™˘Ì‚Ô˘Ï›Ô˘ ÙÔ˘ ƒ·‰ÈÔ- Ú·, Úfi‰ÚÔ˜ ÙÔ˘ π‰Ú‡Ì·ÙÔ˜ μ·ÙÈÛÙ‹, Ì ÙËÓ Â˘Î·ÈÚ›· Ù˘ ¤Ó·Ú͢ Ù˘ Û¯ÔÏÈ΋˜ ¯ÚÔ- ÕÙÔÌ· ªÂ ∂ȉÈΤ˜ ∞Ó¿ÁΘ. ÙÔ‡˜ ÙÔ˘˜ Ì·Ú·ıˆÓ›Ô˘, Î. ÙÔ˘ ƒ·‰ÈÔÌ·Ú·ıˆÓ›Ô˘ ÛÙËÓ ÓÈ¿˜ 2013-2014. √È ‰‡Ô πÂÚ›˜ ÙÔ˘ ¡·Ô‡, Ô ¶ÚˆÙÔÚÂÛ‚‡- ªÂ ·ÔÙ¤ÏÂÛÌ· ·˘Ù‹ Ë ÚÔ- Û˘Ó·ÓıÚÒ- ΔÔ˘ ™ÔÊÔÎÏ‹ ∞ÚÁ˘- ·ÙÚ›‰·. ΔÔ ™¿‚‚·ÙÔ Ú·Á- ÙÂÚÔ˜ ∞Ó‰Ú¤·˜ ÷Ù˙ËÛ·‚‚‹˜ Î·È Ô ¶ÚÂÛ‚‡ÙÂÚÔ˜ ¶·‡ÏÔ˜ Û¿ıÂÈ· Ó· ¤¯ÂÈ Î·ÚÔÊÔÚ‹- Ô˘˜ Ì·˜ Î·È ÚÔ‡, Ô˘ ·Ó¤- Ì·ÙÔÔÈ›ٷÈ, ÛÙÔ ÍÂÓÔ‰Ô¯Â›Ô °ÚËÁÔÚ›Ô˘, ηıÒ˜ Î·È Ô ¢È¿ÎÔÓÔ˜ ¶·‡ÏÔ˜ §¿ÌÚÔ˘, ÌÂ- ÛÂÈ Ì ÙËÓ ·fiÎÙËÛË, ·fi Ô˘ ·ÔÙÂÏ› ∫Àƒπ∞∫√À Ù˘ÛÛ ÌÂÁ¿ÏË Marriott (Grosvenor Square) Ù›¯·Ó ÂÓÂÚÁ¿ ÛÙËÓ Ù¤ÏÂÛË ÙÔ˘ ∞ÁÈ·ÛÌÔ‡ ·fi ÙÔÓ ™Â‚·- ÙÔ 2006, ÙÔ˘ ∫¤ÓÙÚÔ˘ ÙÔ˘ ·ÒÙÂÚÔ ÚÔ˜ ·˘Ùfi ÙÔ Ë ÌÂÁ¿ÏË ¯ÔÚÔÂÛÂÚ›‰· Ì ÛÌÈÒÙ·ÙÔ. ƒ·‰ÈÔÌ·Ú·ıˆÓ›Ô˘. ¶ÚfiÎÂÈÙ·È ÛÎÔfi Ù˘ Δ™π√À¶ƒ∞ ÛÎÔfi ‰Ú·ÛÙË- ÙËÓ ·ÚÔ˘Û›· Ù˘ ΢ڛ·˜ ∞Ó·- ÁÈ· ÌÈ· ηٿÎÙËÛË Ô˘ ÚÔÛ- ΢‚ÂÚÓËÙÈ΋˜ ÚÈfiÙËÙ·. ΔÔ ÌÂ- ÛÙ·ÛÈ¿‰Ë. ¢Â˘Ù¤Ú· Î·È ΔÚ›ÙË, ‰›‰ÂÈ ÛÙËÓ ÎÔÈÓfiÙËÙ¿ Ì·˜ ÔÏÈÙÈ΋˜: ÙËÓ Î·Ù¿ÚÙÈÛ‹ ÙÔ˘˜ Á¿ÏÔ ÎÂÓfi fï˜, ‰ÂÓ Î·Ù¤‚·- 21 Î·È 22 ÙÔ˘ Ì‹Ó·, ı· Â›Ó·È È‰È·›ÙÂÚË ÙÈÌ‹ ηٷٿÛÛÔÓÙ¿˜ Û ÔÚÈṲ̂Ó˜ ÂȉÈÎfiÙËÙ˜, Ï ÙËÓ ·ÔÊ·ÛÈÛÙÈÎfiÙËÙ· ÙÔ˘ ÙÔ ‰È‹ÌÂÚÔ Ù˘ ‰ËÌfiÛÈ·˜ ÙËÓ Û ı¤ÛË ÚˆÙÔÔÚ›·˜ ÛÙÔ ·Ó¿ÏÔÁ· Ì ÙÔ Â›Â‰Ô ÛÙËÓ ™˘Ì‚Ô˘Ï›Ô˘ ÙÔ˘ ÔÚÁ·ÓÈÛÌÔ‡ ¤ÎÎÏËÛ˘ ̤ۈ ÙÔ˘ ∂ÏÏËÓÈ- ÙfiÛÔ ÛËÌ·ÓÙÈÎfi ·˘Ùfi ÊÈÏ·Ó- οı ÂÚ›ÙˆÛË, ÒÛÙ ӷ Ó· Û˘Ó¯›ÛÂÈ ÙÔ ı¿ÚÂÛÙÔ ÎÔ‡ ƒ·‰ÈÔÛÙ·ıÌÔ‡ §ÔÓ‰›ÓÔ˘ ıÚˆÈÎfi ‰›Ô.
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    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Dixon, Luke (1998) The performance of gender with particular reference to the plays of Shakespeare. PhD thesis, Middlesex University. [Thesis] This version is available at: https://eprints.mdx.ac.uk/6384/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated.
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  • History and Hybridity in the Trapeza Church Near Famagusta, Cyprus1
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  • The Performance of Gender with Particular Reference to the Plays Of
    The Performance of Gender with particular reference to the plays of Shakespeare A thesis submitted to Middlesex University in partial fulfilment of the requirements for the degree of Doctor of Philosophy Luke Dixon School of Drama and Theatre Arts Middlesex University April 1998 MX 7309012 3 IIIýýWII IIIIIXVýýýwýýllllýý ABSTRACT An analytical history of the representation of gender on the English stage from Shakespeare to modern times is followed by a detailed examination of the National Theatre of Great Britain's production of `As You Like It' in 1967, the first production of a play by Shakespeare for over three hundred years in which the female parts were played by male actors. Subsequent cross-cast productions of Shakespeare's plays by Glasgow Citizen's Theatre, Prospect theatre Company, Lindsay Kemp, Theatre du Soleil and Goodman Theatre Chicago are discussed and the views of directors and critics of those productions analysed. The thesis then presents the results of a series of workshops with actors into the playing of gender and examines, by means of an experiment employing Gender Schema Theory, how actors construct gender in a production of `Twelfth Night'. The final part of the thesis describes a controlled experiment into audience perception of gender using a scene from `Hamlet'. Theories are presented about the nature of the performance of gender on stage and the use of theatrical conventions, the relationship between social conventions and stage conventions, about the way in which an actor builds a character, the influence of biological sex on actors' creativity, and about audience perception. TABLE OF CONTENTS Chapter I Contexts, methodology, terminology.
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  • Noises Off.Pdf
    NOISES OFF a play in three acts by Michael Frayn November 2001. Post-production London, post-production New York. As supplied to Methuen (27 Nov 2001) and Samuel French Inc. The copy for the programme of Nothing On is included at the end. Author's Note This play has gone through many different forms and versions. Here, to avoid any mysteries or confusions, is a brief history. It began life as a short one-acter entitled Exits , commissioned by the late Martin Tickner, for a midnight matinee of the Combined Theatrical Charities at the Theatre Royal, Drury Lane, on 10 September 1977, where it was directed by the late Eric Thompson, and played by Denis Quilley, Patricia Routledge, Edward Fox, Dinsdale Landen, and Polly Adams. Michael Codron thereupon commissioned a full-length version, and waited for it with intermittent patience. Michael Blakemore, the director, persuaded me to rethink and restructure the resulting text, and suggested a great many ideas which I incorporated. After the play had opened at the Lyric, Hammersmith, in 1982, I did a great deal more rewriting. I went on rewriting, in fact, until Nicky Henson, who was playing Garry, announced on behalf of the cast (rather as Garry himself might have done), that they would learn no further versions. The play transferred to the Savoy Theatre, and ran until 1987, with five successive casts. For two of the cast-changes I did more rewrites. I also rewrote for the production in Washington in 1983, and I rewrote again when this moved to Broadway. Reading the English text that has been in use in the past decade and a half I have discovered a series of bizarre misprints, and I suspect that directors have been driven to some quite outlandish devices to make sense of them.
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